Un film del 2010, regia di Sion Sono, con . Prodotto da ()

Drammatico / Poliziesco

Focus sui turbolenti e sanguinosi eventi di cui, nei primi anni novanta, la scena black metal scandinava si rese protagonista.

By Jason Gray – ScreenDaily.com

Japanese studio Nikkatsu has sold Alien Vs Ninja to Revolver Entertainment for the UK and M Pictures for Thailand.

Written and directed by Seiji Chiba, the special effects-laden film is set many centuries ago and follows a band of ninjas doing battle with aliens who crash land in Japan. It stars Masanori Mimoto, Shuji Kashiwabara, Donpei Tsuchihira and Mika Hijii.

The action direction is handled by Yuji Shimomura and Kensuke Sonomura, prolific stuntmen and action choreographers who are now branching out into Asian and US productions.

The sale marks Nikkatsu’s first deal with London and L.A.-based Revolver. M Pictures previously picked up rights for The Machine Girl.

As reported on ScreenDaily, Alien Vs Ninja is the first title for Nikkatsu’s newly-established extreme gore-action film label Sushi Typhoon. Nikkatsu showed buyers a one-minute promo reel for Alien Vs Ninja and is currently negotiating deals with other territories.

Headed by Yoshinori Chiba, Sushi Typhoon will produce titles by cult directors, including Sion Sono, Noboru Iguchi and Takashi Miike, for overseas audiences.

Amazon Specials!

O Japão tem a mais alta taxa de morte por suícidio do mundo, a razão são uma série de obrigações culturais, e causar a própria morte  seria mais digno que a vergonha. Também tem o Japão a maior taxa de suícidio juvenil do mundo. Não obstante aos problemas comuns da adolescência, a influenciabilidade, os jovens japoneses têm uma obrigação de superação, de êxito progressivo e com o início da programação e da obrigação adulta, seus futuros definem-se nesse momente.

“Clube do Suicídio” é muito mais sobre a ação do que a razão desses dados. É um filme de horror, e com isso, é exemplar. Algumas característica adolescentes e midiáticas também são muito bem exploradas. Mas o filme prefere se criar cult e se fazer-se muito mais complexo do que é. A segunda metade adiciona quase nada ao longa. Recheada de simbolismos e deslocamentos, exibidos de forma que parecem uma ruptura com todo o resto do longa, uma quebra de ritmo. Muito pouco remete o anterior da narrativa.

Mesmo que seu final não seja satisfátorio, “O Pacto” (como foi chamado no Brasil) merece ser visto mesmo que seja apenas pelo bom gosto das cenas de gore. A cena inicial (e uma frase de explicação dada mais tarde ainda a torna mais atormentadora), o suicídio na escola, e a mãe picando legumes, são provavelmente antológicas dessa década.

o pacto / clube do suicídio ( jisatsu sâkuru – 2001 dir.: sion sono )

16.00 Uhr: Love Exposure
20.30 Uhr: Strange Circus
22.30 Uhr: Exte – Hair Extensions

LOVE EXPOSURE
(Ai no mukidashi)

Japan 2008
Regie: SION SONO
237 Min. Erstaufführung. Japanisch mit deutschen Untertiteln

Mit Ando Sakura, Watabe Atsuro, Watanebe Makiko

237 Minuten Liebeschaos: LOVE EXPOSURE ist ein wildes und ungebändigtes Potpouri aus großen Gefühlen, aus sexueller Perversion, Sakralem und Sektenwahn. Das ganze ist so klug und einmalig kombiniert, dass knapp vier Stunden schneller als ein Videoclip vergehen.
Sion Sono (STRANGE CIRCUS/SUICIDE CIRCLE/EXTE – HAIR EXTENSIONS), ein Meister des ungestümen und originellen Filmschaffens, kombiniert ohne Hemmungen das Unmögliche, Barock mit Pop, Sünde und Schuld, Perversion und Sittsamkeit, Gewalt mit Zartheit, Prunk und Bescheidenheit.
Ebenso provokant wie in jeder Sekunde ausnahmslos gewinnend fordert LOVE EXPOSURE seine Zuschauer heraus und belohnt sie mit einer überwältigenden Kinoerfahrung.
Ein Film, der süchtig macht!
LOVE EXPOSURE eröffnete in diesem Jahr die Sektion Internationales Forum des jungen Films auf der Berlinale mit einem Donnerschlag. Wie angekündigt, erwies sich das vierstündige Liebesdrama als
„kurzweiligster Film der Berlinale“, als augenöffnendes Filmerlebnis, dem sich keiner entziehen mochte.

STRANGE CIRCUS
(KIMYO NA SAKASU)

Japan 2005
Regie: Sion Sono
35mm. 109 Min.
Originalfassung mit Untertiteln

Mit Masumi Miyazaki, Issei Ishida

Ein zwölfjähriges Mädchen wird vom Vater sexuell missbraucht und muss den elterlichen Beischlaf, eingesperrt in einem Cello-Kasten, durch ein Guckloch verfolgen. Nach dem Tod der es ebenfalls misshandelnden Mutter schlüpft es in deren Rolle.
Danach nimmt der Film eine abrupte Wendung und zeigt eine junge Schriftstellerin bei der Arbeit an einer autobiographisch eingefärbten Kindheitsgeschichte.
Mit STRANGE CIRCUS hat Sion Sono einen infernalischen Horrortrip
geschaffen, der permanent die Erwartungen des Zuschauers durchkreuzt. Die zahlreichen Traumsequenzen erinnern an David Lynchs TWIN PEAKS, während die schonungslose Radikalität der Darstellung Vergleiche mit den Filmen von Takashi Miike heraufbeschwören.

EXTE – HAIR EXTENSIONS
(EKUTSUTE)

Japan 2007
Regie: Sion Sono
35mm. 108 Min.
Originalfassung mit Untertiteln

Mit Chiaki Kuriyama, Ren Osugi

Ein Bestatter verkauft die ständig nachwachsenden Haare einer Toten an ein Haarstudio zwecks Haarverlängerungen, doch die Trägerinnen der neuen Haarpracht haben nicht mehr lange zu leben.
Zugleich wird die Geschichte zweier Schwestern erzählt, die sich in Hassliebe zugetan sind und ihre lieblose Kindheit verarbeiten müssen. Ein in seinen Effekten eher sanfter, doch ungemein packender Geisterfilm, der mit Suspense und Humor die Mythen des japanischen Spannungskinos hinterfragt.

Reviews of film screening during the 2009 Melbourne International Film Festival.

Love Exposure (Ai no mukidashi, Sion Sono, 2008) ✭✭✭✭✩
The Sky Crawlers (Sukai kurora, Mamoru Oshii, 2008) ✭✭✭
Tears for Sale (Carlston za Ognjenku, Uros Stojanovic, 2008) ✭✭✩

Love Exposure
Sion Sono’s (Suicide Club) latest film, Love Exposure, almost runs for four hours and at first resembles a melodramatic soap opera. However, once the main character Yu goes to train with a group of professional perverts in order to learn the skill of taking up-skirt panty shots, you realise that Sono is once again going to take you on one hell of a genre defying ride. Yu becomes a pervert in order to develop a worthy set of sins to confess to his father, a priest who has fallen from grace. But soon Yu becomes involved in a love triangle with a girl recruiting for a cult and a girl who hates all men except Kurt Cobain and Jesus Christ. Love Exposure is a delirious exploration of Christianity, family, cults, sin, forgiveness, lust, perversions (especially the supposed Japanese obsession with schoolgirls and panties) and gender – or put simply: religion and sex. Its weird, comic tone is frequently over-the-top, often funny and always inventive. Moments of excess are partly satirical, partly outrageous comedy and partly self-referential as Sono frequently draws attention to the fact that the film is shot somewhat crudely on digital videotape. This is cinema at its most daring, outrageous and defiant, and it needs to be seen to be believed.

The Sky Crawlers
Heavily indebted to George Orwell’s “War is Peace” concept from 1984, The Sky Crawlers is set in a highly anachronistic alternative history where private corporations wage ‘war’ on each other for commercial entertainment. The fighter pilots are ‘Kildren’ who remain adolescents forever (or until they are shot down). Whether working in animation (the Ghost in the Shell films) or live action (Avalon), Japanese director Mamoru Oshii likes exploring the themes of memory, reality and identity. His films are a philosophical mixture of stillness and bursts of spectacular action. The contrasts that Oshii uses in The Sky Crawlers are his most pronounced yet. The old World War II style planes and other pieces of technology are created with some of the most realistic 3D animation created to date while the characters are drawn in incredibly simple and almost ugly 2D animation. This juxtaposition is clearly a deliberate visual statement about what constitutes as reality in this Brave New World but it is nevertheless jarring. The brief dog-fight scenes between the pilots are incredible but they are few and far between. Most scenes in The Sky Crawlers consist of minimalist dialogue, long pauses and characters blankly starring at each other. Even for an Oshii film, The Sky Crawlers feels slow and despite its worthiness it doesn’t contain the same degree of depth of his previous films.

Tears For Sale
The special-effects-filled Magical Realist Serbian film Tears for Sale is visually a blend of the cinematic styles of Tim Burton, Terry Gilliam, Jean-Pierre Jeunet and Emir Kusturica. Narratively it initially seems to follow Kusturica’s approach of exploring history and politics with a very dark sense of humour. The scenario of a village that is only inhabited by women certainly follows the absurdist tradition of using excessive black humour to respond to something horrific – in this case the fact that two thirds of the Serbian male population died during World War I. The women have become professional grievers and are paid for their mourning expertise. The only other source of income for the village is a mine-filled vineyard that nobody ever leaves alive. Unfortunately Tears for Sale very quickly gets lost in its own indulgences and seems to function simply in order to present yet another display of dazzling visual effect. All meaning and character development gets thrown out the window and as the film progresses the behaviour of the characters becomes increasingly inexplicable and implausible. The later stages of the film also expect us to start empathising with characters that we have no reason to empathise with and the heavy use of slow motion and gushy music does not do the trick. Tears for Sale looks incredible but it is empty spectacle that never engages with its subject matter or with the audience.

© Thomas Caldwell, 2009

v.o.: Ai no Mukidashi Il y a de la passion dans l’air… et une bonne dose de parodies! GeezusCrap je ne sais par où commencer.

Le petit garçon d’une famille de 3 fervents catholiques promet à sa mère mourante de lui présenter l’amour de sa vie, le jour où il rencontrera une femme comme Marie (oui, la sainte vierge. Celle de la bible même). Le père se fait prêtre après le choc de la mort de sa douce épouse, et leur vie se passe sans encombre, dans la foi et la bonne humeur. Jusqu’au jour où débarque Kaori, une femme délurée qui volera le cœur et l’attention du prêtre, et ce, en toute allégresse. Le jeune Yu aura raison de ne pas voir la nouvelle venue d’un bon œil, car elle prendra vite ses clics et ses clacs, plongeant le père dans une dépression tyrannique.

Le prêtre se radicalise. Il s’en prendra psychologiquement à son fils, qui se convertira au vice pour satisfaire le sadisme d’un père présent que dans l’enceinte du confessionnal. Commence alors une quête naïve et désopilante, anti-conventionnelle ou en tout cas à l’opposée d’une bonne action par jour. Yu devient le Super Hentaï de renom en maîtrisant l’art de photographier les petites culottes à l’insu des passantes, la perversion suprême qui lui garantira l’indignation paternelle. Expulsé de la sainte maison, il rencontre un trio de majorettes aussi hautaines que louches. Leur chef Koike mettra à profit ce « péché original » avoué du garçon à des fins sectaires. Elle commence par orchestrer la rencontre de Yu et Yoko, fille adoptive de Kaori de retour dans les bras du prêtre, et surtout la seule fille parmi des milliers dont les dessous provoquent le désir chez notre mignon tordu, travesti en « Sasori-san » pour l’occasion (réf. à la Femme Scorpion). C’est le coup de foudre, la Maria tant attendu. Mis à part Curt Cobain et Jésus, Yoko voue une haine coriace à la gent masculine. Au grand désespoir de Yu relégué au rang de beau-frère répugnant et confident masqué, elle s’amourache de Sasori, identité usurpée par Koike pour s’introduire dans leur vie de famille… et y foutre le chaos.

Jusque là, c’est un spectacle visuel et narratif réjouissant. Puis le masque tragique tombe et c’est parti pour au moins 1h de méandres dans l’univers de la secte de Koike. Celle-ci parvient à y embarquer une Yoko traumatisée et ses parents tenus pour responsables du dysfonctionnement de la cellule familiale. Dans un processus de lavage de cerveau et de conditionnement, on leur apprend les « vraies valeurs ». Sous l’aile de Koike, ils gravissent vite la pyramide pour accéder au rang de membres privilégiés vivant dans une bulle aseptisée, tandis qu’à l’extérieur, Yu est instrumentalisé dans l’espoir de revoir sa Maria. Après une tentative d’enlèvement et de sevrage, il réalise à quel point Yoko est endoctrinée, ne reconnaissant dans son amour pur qu’une perversion obsessionnelle. Dans une séquence assez magistrale (symphonie à l’appuie), elle lui vocifère tout un psaume, mets en branle les dogmes des religions traditionnelles et argumente qu’il est en aucun cas en position de lui parler de vérité. Pour sauver Yoko, Yu n’aura pas d’autre choix que de réprimer ses instincts, s’enrôler auprès de Koike, et perdre la tête…

L’avis de l’amateur : grandiose!

Mon favori du festival, et c’est un avis partagé par beaucoup puisque Love Exposure récolte les prix -Fantasia 2009- du public de meilleur film asiatique et film le plus innovateur.

Pour qui est habitué à enchaîner plusieurs épisodes de dramas coréens, la longueur du film n’affecte en rien l’appréciation. J’avais beaucoup aimé comment Sono traitait de l’aliénation dans Noriko’s dinner table (le 2^e et meilleur Suicide Club). On retrouve ces éléments perturbateurs dans Love Exposure, agrémentés d’un humour ravageur et d’une fable extravagante sur l’amour et la réligion, ou leurs dérives rendus à dimension humaine. L’univers de la secte mafieuse est exploité ici de façon caricaturale et épisodique. Tant mieux, car moins éprouvant (voir Kanaria de Akihiko Shiota). Takahiro Nishijima qui tient le rôle de Yu est époustouflant de façon bien inattendue pour la frêle idole pop qu’il représente. La morale de tout ça serait que, en matière d’amour, il vaut mieux être honnête, quitte à trop s’exposer, pour s’épargner des complications trop lourdes à porter.

√Add to checklist: Hazard de Sion Sono

Ruka is a cop whose job is to stop mutant humans know as ‘engineers’ who have the ability to transform their wounds into weapons. She’s also seeking revenge for the murder of her father.

Directed by – Yoshihiro Nishimura

Written by – Kengo Kaji, Sayako Nakoshi, Yoshihiro Nishimura

Starring – Eihi Shiina, Itsuji Itao, Yukihide Benny, Jiji Bu, Ikuko Sawada, Kai Izumi, Mame Yamada, Ayano Yamamoto, Moko Kinoshita, Tsugumi Nagasawa, Maiko Asano, Naofumi Murata, Takashi Shimizu, Sion Sono, Makoto Kamiya

Every regular reader here probably knows my love for this movie. And since most of the regular readers have posted their own reviews for this film, I’ve probably already shared some love on their post personally. Hmmm, that sounds about as goopy as this film was! HAHA!

I couldn’t wait to see this flick at the Toronto After Dark Festival and I’m happy to say that it was everything I wanted and more. Extreme over the top gore mixed with some really funny moments in the form of ‘commercials’ throughout the movie. It was wild, weird, wacked out and I bet just about every other W word you could think of. There is a plot in there somewhere but I didn’t even care. I was having so much fun watching all the over the top violence that the plot was the last thing I was thinking of. All I wanted to see was what they did to top the last scene I just saw.

Hands, they aren't just for waving anymore!

I was primed for this flick after watching Machine Girl, which is pretty much in the same vein as this flick in terms of violence. TGP was a step up though. The effects were a bit better, the weaponry a little more imaginative and the blood must have been spraying alot further in this one.

After being bathed in blood last year by TGP, I can’t wait to catch Vampire Girl VS. Frankenstein Girl, also by Yoshihiro Nishimura, at this year’s festival. I’m not quite sure he can top girls with giant jaws for legs or a guy with an, ummmm, we’ll call it a crotch gun, but I”m sure looking forward to seeing anything that they’ll throw at me.

Under the marquee – Will

Aujourd’hui c’est le coup d’envoi de l’un des meilleurs festivals en ville. Yatta! Et Yatterman de Takashi Miike en film d’ouverture. Mais comme on est pas à New York ici, nope, ni lui ni l’acteur principal ne seront présents dans le box des invités. C’est bien, car je doute qu’on aurait eu des tickets sinon! Ç’aurait été Crows Zero 2, j’aurais fait toute une autre histoire. Et puis ayant tenté l’animé revampé de Yatterman il y a quelques années, je crains le pire… Espérons que ça sera de la même trempe qu’un live action de Cutie Honey par Sir Hideaki Anno.

Malgré quelques déceptions de ne pas voir certains films très attendus figurer au programme, celui-ci est tout de même impressionnant. Et encore j’ai filtré ma sélection par pays. Pas beaucoup de films thaï cette année. J’aurais payé double pour voir Du-na Bae dans Air Doll au lieu de Ayase Haruka dans Cyborg She. Ils n’ont pas trouvé Ponyo? 1 Evangelion c’est bien, mais 2 c’est tout de même mieux, non? Je me demande pourquoi K-20 défraie la chronique.

On ne peut pas tout avoir, et si ce n’est pas l’occasion qui manque, c’est souvent les finances. Alors pour me consoler de ne pas pouvoir voir Mos Def au Festival de Jazz voisin, je compte bien passer 4h devant un Sion Sono, bouffer du vampire à la sauce Park Chan-wook, rêver façon Kim Ki-duk et découvrir plein d’autres sensations effarantes. Si vous voulez mon avis, c’est un mois de juillet de folie.

Strange Circus (2005)
Written & Directed by Sion Sono

Starring: Masumi Miyazaki, Issei Ishida, Rie Kuwana, Mai Takahasi, Hiroshi Ohguchi

Since barreling into the international eye with 2002’s Suicide Club Japanese auteur Sion Sono has walked a fine line between exploitation and serious studies of human darkness. His films have generated controversy for attacking social decay with over-the-top, horror movie style and twisted acid-trip narratives, and movies such as Strange Circus inspire debate that finds half the room offended by the other half’s declarations of “genius”.

There is no safe way to approach the subject of incest. No attempt to explore domestic abuse will be free from criticism. These are risks every filmmaker takes when traveling into the dangerous corners of the human mind and Sono’s response to the challenge is garish settings, incomprehensible events and an almost celebratory fetishization of degradation. What Strange Circus achieves is calling attention to the viewer’s enjoyment of a movie that only the most jaded fan of cinema could dismiss as less than shocking.

Mitsuko’s (the older is played by Mai Takahasi, the younger by Rie Kuwana) life ends when her father Gozo’s (Hiroshi Oguchi) voracious sexuality begins to consume her, first by being hidden in a cello case to watch her parents in bed, then inevitably by direct violence. She responds to these violations by reshaping her identity into a dual existence with her mother Sayuri (Masumi Miyazaki) who, upon discovering what’s going on, reverts to an animalistic and brutal competition with Mitsuko. There’s no escape for either the victim or her failed protector– school provides no solace as Gozo is the principal who addresses the classes every morning via closed circuit broadcasts. The situation finds bleak resolution when mother and daughter struggle at the top of the stairs.

Resolution might be the wrong word. Taeko (also Miyazaki) is a writer notorious for her pornographic and violent novels. Her publisher is eagerly anticipating the latest money-maker, another book about the suffering of a young girl. She’s difficult to work with, but takes an interest in a new assistant Yuji (Issei Ishida) who has long been enthralled by her work. Taeko is a mystery: are her novels based on life experiences or the product of a sick but fertile imagination; are rumours of her sexual appetite true? Yuji makes a brothel lobby deal to investigate the woman behind the pen as the novel nears completion.

Although these two fragments are stylistically distant they will eventually converge. This is not to say that questions will be answered so much as you will find the questions you had are replaced by more pressing matters of identity, reality, the fragility of the mind and the scope of inhumanity. This is not a passive viewing experience but a thrown gauntlet, which is Sono’s saving grace. Without forcing the viewer’s complicity and, ultimately, confrontation with the film it may as well be porn.

The script does not flow from A to C via B nor does it follow mathematical conventions. The storylines cross paths and blur, cycle back and flip perspective. There are interruptions, diversions, side plots that don’t always amount to much, but every moment builds to a pressure screaming for release. The dialogue ranges from believable, matter-of-fact exchanges to heavily scripted and theatrical with horrific imagery balanced by absurdist humour. The characters are colorful, humming with a vibrancy that compensates for a lack of backstory.

The cast is strong whether playing it straight or as grotesque cartoons. Masumi Miyazaki effortlessly handles two distinct personalities, imbuing the screen with a sense of schizophrenia. She is the scorned lover, the vicious rival, the unhinged enfant terrible and the fragile victim. Hiroshi Oguchi is unbelievably convincing as the sexual predator and manipulator, not afraid to give himself over to a reprehensible role. As the young Mitsuko Rie Kuwana embodies a young girl whose youth has been wrenched from her, moving as though souless through corridors of blood, then lighting up like a child in her dreamed visits to a Grand Guignol inspired circus. Although less dynamism is required Mai Takahasi delivers both rage and helplessness as the older Mitsuko, subjected to her own private hell. The most fantastical character is reserved for Issei Ishida, a languid performance bereft of passion as required. Removed from the carnal crimes of the other roles, his character remains distinctly as disturbed, repressed, and off-kilter.

Strange Circus sleepwalks through a codeine dream of glamourous rooms and nightmarish corridors. The dressings have been carefully constructed to cause unease or a false sense of security– reality and dreamscapes merge into a contiguous landmass which never allows you to become comfortable in one world or the other. Sono lets the camera lurch, spy and leer instead of jumping around like a slasher flick, so the richness of the color palettes and the methodical lighting can be fully appreciated. Some shots are a little too perfect but they come across as opportunities found, not planned. The sound design is appropriately eerie with certain aural themes repeated musically as well as certain effects. Nothing over the top– no cliches to make you jump.

Strange Circus was released in America by Danger After Dark/TLA Releasing which boasts 5.1 surround and a crisp 1.85:1 anamorphic widescreen print. Careful, word on the street suggests there’s a cut version– aim for 108 minutes. Do yourself a favor and don’t watch a screening copy like I did– the motherfucker had text at the top of the frame throughout the entire movie.

Ayumi Ito, Eiji Okuda e Keiko Takahashi protagonizam “Be Sure To Share” (“Chanto Tsutaeru”), o penúltimo projeto de Sion Sono (“Strange Circus”), atualmente em pós-produção.

O câncer apagou todo rastro da força que marcou o glorioso passado do pai de Shiro, um aclamado homem de negócios. Com a morte próxima, pela primeira vez aprecia sua importância e lhe mostra respeito. Mas inesperadamente, o mesmo doutor que trata seu pai lhe confirma que ele também tem um câncer. Para evitar que seu moribundo progenitor sofra ainda mais, guarda em segredo esta terrível situação, desejando contrariado que este faleça antes ao sentir-se incapaz de amargar seus últimos dias de vida.

Estreará no Japão em outono.

Durante o Marché du Film de Cannes anunciaram uma notícia que muitos esperavam com entusiasmo: Sion Sono (“Suicide Club”, “Strange Circus”), já tem protagonista para “Lord of Chaos“, um novo longa-metragem que começará a ser rodado em setembro na Noruega.

“Lords of Chaos” é o título de este projeto centrado na cena black metal noruega surgida no começo dos anos 90 e que está inspirada no livro homônimo do jornalista americano Michael Moynihan. A história não obviará o assassinato do guitarrista de Mayhem, Øystein Aarseth (Euronymous), em mãos do polêmico Varg Vikernes o 10 de Agosto de 1993.

Jackson Rathbone (Jasper Hale em “Crepúsculo”) interpretará Vikernes nesta fita cujo roteiro corre por conta de Hans Fjellestad, Ryan Rage, Adam Parfrey e do próprio Sono. Estreará em 2010.

Por outro lado, o último filme de Sono, “Love Exposure“, obteve recentemente o Prêmio do Público no Festival de Cinema Asiático de Barcelona – BAFF 2009.

Love Exposure (2008) de Sion Sono era la película más esperada del BAFF por muchos, así que no es de extrañar que se alzara con el premio del público del festival. Pese a las cuatro horas de duración de esta locura y al hecho de que la proyección era en la incómoda sala del CCCB, la sesión agotó todas las entradas —si bien es cierto que un par o tres de fans con entradas anticipadas no vendrían al final, pues algunos asientos libres había— y tampoco recuerdo reparar en ningún abandono a media película.

Para hacerse una idea de qué va la cosa, en este caso lo mejor es ir directamente a las imágenes del tráiler y dejarse de sinopsis:

Después de haber tenido la ocasión de ver Love Exposure, me da la impresión de que Sion Sono tiene un enorme talento cinematográfico; algo así como Tarantino, a cuyas dos entregas de Kill Bill me recordó bastante Love Exposure. En cualquier caso debo reconocer que el imaginario de director no está en gran sintonía con mis intereses (es demasiado friki), así que posiblemente fui el único asistente a la sesión que puntuó la película con una nota tan “baja” como un 3 en una escala de 1 a 5.

Не съм сигурeн дали съм споменавал преди в този блог, но съм голям фен на работата на Sion Sono. Човекa, който направи филми като Suicide Circle, Noriko’s Dinner Club и Strange Circus, със сигурност заслужава уважение. Първия негов филм, който гледах беше, не особено изненадващо, Suicide Circle. И трябва да си призная, че го гледах два пъти… за една вечер. Просто след като свърши филма, бях толкова филмиран, че трябваше да го видя отново за да проумея какво се е случило! Това разбира се може да се приеме и като негативна страна, все пак при прожекция няма опция за втори път.. Или зависи.

Но със сигурност мога да кажа, че Suicide Circle е един от най-добрите източноазиатски филми, които някога съм гледал. Същото важи и за Noriko’s Dinner Table, който от своя страна е продължение на Suicide Circle. В Noriko проблемът е разгледан индивидуално и много по-лично, в опозиция на далеч по-колективния Suicide Circle.

Това, което ми харесва в Sono е, че има ясно изразен стил, въпреки че понякога работи с много малки (доста по-малки от това, което вече се подразбира под нискобюджетен и все пак повече от безбюджетен). Някои режисьори разчитат на визуалния стил, за да бъдат разпознати. Sion Sonо разчита на общото чувство на филма.

Затова и трейлъра на новия му филм ме изненада донякъде. От една страна разбирам, че това е филм на Sono, но от друга виждам по-различния начин. Като атмосфера е между Noriko и Suicide, но с далеч по-наблегнати комични елементи. Докато при Noriko атмосферата беше смазващо депресираща на моменти, тук виждаме един доста експлозивен на моменти трейлър.

Love Exposure (Ai no Mukidashi), но не трябва да се бърка с по-стария корейски филм със същото име. Love Exposure на Sion Sono се пръска по шефовете от стил и не вярвам дори , не чак толкова перфектната визия да развали филма, който между другото е с продължителност цели 4(!) часа и като гледам ще разкаже наистина епична история.

Сюжетът е за Yu, който е фотограф с наклонности да снима там където не трябва (да се чете под полите на нищо не подозиращите японски ученички). И става легенда в sneak фотографията, за която съм чувал, че е доста популярна в Япония и осигурява дълги ваканции в затвора, за тези който нямат уменията. А Yu ги има както си личи от трейлъра… В един момент в живота му влиза Yoko, и по някакъв начин успява да влезе в мистериозен религиозен култ.

Филмът вече спечели някаква малка награда в Берлинале, което е добре. Личи си, че работата на Sono излиза от тесния кръг зрители, които са предимно малка част от сънародниците му и феновете на източноазиатското кино. В трейлъра се виждат много типични елементи за Sono елементи – като тоталното незачитане на реалността, в полза на стила. В описанието виждаме, че пак ще става въпрос за някакъв вид кулотове, което не знам за вас, но мен винаги ме е впечатлявало.

Трейлърът може да видите в Nippon Cinema.

Между другото, има много готин homage към Meiko Kaji и Female Convict Scorpion. Става въпрос за момичето с голямата черна шапка и дългата черна рокля.

Filme de quase 4 horas de duração de Sion Sono, diretor habitual de filmes de terror bastante reconhecidos como Suicide Club, que ao passar pelo festival de Los Angeles FILMEX recebeu uma acolhida muito boa por parte do público e a crítica.

O filme é protagonizado por Takahiro Nishijima e Hikari Mitsushima. Nos conta a história de Yu, um rapaz do colegial que vive com seu pai, que virou um sacerdote depois que a mãe de Yu morresse. Mas um dia, uma mulher, Kaori, se apaixona pelo pai de Yu. Yu está totalmente contra isto porque não gosta da excêntrica presença de Kaori, e ainda mais porque ela traz consigo Yoko, a garota que ele está apaixonado. Ele não quer que a garota dos seus sonhos vire sua irmã. Um dia, um culto religioso seqüestra a família, exceto Y, que fará todo o possível para salvar sua família desta seita que quer por todos os meio que façam parte do culto.

hahah… os garotos com as camêras são verdadeiros ninjas